I'm so used to being in a theater where there is always a narrative, but I'm more about the still moment, the painter inside me.

I really love country music, just this idea of three chords and the truth.

I was very prejudiced when I started arts school. I, like all of those kids, was like, "I don't like this modern stuff." I came to arts school with a very stupid, conservative set of ideas about art.

The best trick I learned was when a priest came to me when I was an altar boy and said, "Always, when you make a mistake, pretend it's ritual." It's beautiful!

I'm so used to being in a theater where there is always a narrative, but I'm more about the still moment, the painter inside me.

I had a total revelation with the feminist moment, with Carolee Scheeman and Marina Abromovic and of course Joan Jonas; that was a big breakthrough with me. And through them, I was introduced to Chris Burden and Bruce Nauman and Vito Acconci. You can almost call it a gang, because the works are always talking together. That stuff had a huge impact on me, but other than that, my interest had always been old paintings.

A lot of the stuff I've done is inspired by the location. Usually my works are pretty site-specific. There are a lot of shows that are older works, but often when I do new work for a show, it tends to talk to the space or the idea of the museum.